MONDAY MARCH 28TH
1. Syllabus Review:
Instructor: Roberto S.
Oregel Class
Location: Music 256
Days/Time: Monday 6:00 –
10:00 PM Office Hrs: Mond.
4:00 – 5:00PM (by appt)
WELCOME TO TVF 330 Broadcast and Film Documentary
class. This course will provide
a survey of the significant video/filmmaking styles that have marked the
history of the documentary. The course will consider historical, social,
political and technological forces that have contributed to the evolution of
documentary film and video. The course’s survey of the evolution of video/film
documentary
COURSE CONTENT LEARNING OUTCOMES
Upon successful
completion of this course, students will be able to:
· Identify key
social factors in the historical development of documentary film.
· Identify key
styles of documentary film.
· Understand the
rhetorical properties of documentary film language.
· Apply critical
analysis to documentary texts.
· Appreciate the
broader context of informational media.
Readings and Additional Video Clips will be posted
in the Class Blog that I will keep up through out the quarter. Please reference the class blog for readings
and extra video clips: http://330filmdocumentary.blogspot.com
In addition
to online reading, there will be a class reader that will be available at the
bookstore.
REQUIREMENTS
1.
FULL ATTENDANCE at lectures,
screenings and discussion is mandatory. Class
attendance means you are present at the start of class and stay until the
period ends. Students are allowed no more than 2 absences. Each absence will result in a deduction of
5points per day missed. There is no
make up work. After 4 absences, student
is at risk of obtaining an “F” as their final grade. Tardiness
is unacceptable – arriving late to class 2 times will be counted as 1 absence. Leaving and
returning during class time will be counted as a tardy. Students are expected to arrive on time after
their class break. If you’re late before
class and after the break time you will accumulate two tardies which is
equivalent to an absence.
Come to class with
that day’s reading already completed. All assignments are due at the beginning
of class. You are expected to be in class for all screenings. Should you miss a
video, it will be your responsibility to find, rent, and view a copy on your
own – course tapes/DVD’s will not
be loaned. (1.5 points each day for attendance and participation)
2.
Each class will conclude with a short
essay or a series of questions reflecting the film screening, discussion or
blog notes and readings (A total of
1point per day).
3. 4 Film
Reports (2.5 points each): 1-2pages
typed, double-spaced reports on designated films—please reference one or two
scholarly sources in your report (see the daily “DUE” listings on the Schedule).
Each report must identify the
following:
· Full film title and director/ on your scholarly
sources-- author/s name/s correctly
spelled.
· Identify and
briefly explain an issue or problem with which the filmmaker brings to the attention.
· Identify and
briefly explain one of the author’s central argument concerning the film.
DO NOT QUOTE from the readings
in your report. ANY INDICATION OF PLAGIARISM WILL RESULT IN ZERO GRADE POINTS.
Your film reports must identify and explain in your own words. Film reports are worth a possible 5 points each.
Handwritten and/or late film reports
will not be accepted.
4. ANALYTICAL TERM ESSAY and CLASS
PRESENTATION: THE CLASS WILL BE DIVIDED
INTO 4 Groups. The groups will be from
any of the Documentary Modes of Representation..ie Expository, Observational,
Interactive/Participatory, Reflexive/Performative, Poetic…
(40 points---20points
the class presentation 20 points the research paper): Minimum 5 page (not including “Works Cited” page), typed,
double-spaced and with at least 4
research references. The class
presentation will consist of the Mode your group has picked..ie Expository,
Observational, Interactive…etc…You will present and identify the mode, make
comparisons, and bring visual examples.
Students or groups that have access to equipment can and are encouraged
to create their own visual examples.
Along with the class/group presentation, each student will select a
documentary film within their group Mode and develop and write an essay of the
film’s documentary film language and argument.
The progress of
your essay must follow the following schedule. ALL ASSIGNMENTS MUST BE TYPED.
Failure to meet any deadlines will result in zero grade points for those
assignments. Late assignments will not be accepted.
- documentary film choice: title, year, director, running length,
synopsis (2.5points)
- first draft sequence breakdown:
Parts 1 & 2 (2.5 points.)
- first draft term essay outline
(5 points)
- final draft term essay (10 points)
- final draft sequence breakdown:
Parts 1 & 2 (2.5 points ea.) and final draft term essay (10 points)-----TOTAL
30 Points for RESEARCH PAPER, 20 POINTS
FOR CLASS PRESENTATION.
5. Midterm (20 points) and Final Exam (20 points) will be based on
readings, films, class discussions---Most of the materials will be posted on
the Class Blog--
GRADE POINT BREAKDOWN
ATTENDANCE and
Class work 20 points
FILM REPORTS 10
points
MIDTERM 20 points
FINAL DRAFT ESSAY 20
CLASS PRESENTATION
10
FINAL EXAM 20
TOTAL POINTS
GRADE SCALE
A 96
– 100 A- 90 – 95
B+ 86
– 89 B 80 – 85 B- 76 – 79
C+ 70
– 75 C 66 – 69 C- 60 – 65
D+ 56
– 59 D 50 – 55 D- 46 – 49
F 0 - 45
CLASS SCHEDULE
Schedule is subject to change. Students are responsible
for ALL schedule & assignment changes announced in class.
March 28
1. Syllabus
Review
2. What makes a film a Documentary?
3. Term
Essay and Sequence Breakdown Guideline Review:
· Please write up your first 1-2 page film Report due
next class---Typed---
· Must be turned in DURING CLASS….NO EMAIL nor any
other method.
April 4
1. Modes
of Representation
2. Theories
and Practices of Documentary
3. Term
Essay and Sequence Breakdown Guideline Review
*First Film Paper Due
April 11 Poetic
Documentary
1. The
Poetic mode was introduced into documentaries in the 1920s as reaction against
both the content and the rapidly crystalizing grammar of the early fiction
film.”
2. Film
Excerpts: Leni Reifenstahl’s Olympia (1938), Robert Flaherty’s “Man of Aran”
(1938), Chris Marker “Sans Soleil (1982)
3. View
Blog for readings
Example:
April 18
Expository Documentary
1. It
can be argued that the expository mode arose from these inaccuracies that he
poetic mode was susceptible in presenting, as well as the “distracting
qualities” of fiction films.
Consequently, the expository mode aims to educate the audience and
“evoke and gratify a desire to know.”
2. Film
Clips: Frank Capra’s “Why We Fight” –“Night Mail” (1936), “Triumph of the Will”
3. View
Blog for readings
-----HOME WORK---SECON PAPER---
-----HOME WORK---SECON PAPER---
Example:
April 25
Midterm
May 2
Observational Documentary
1. The
advance of technology in the 1960s enabled cameras to be built smaller and
lighter, thus allowing film makers to simply observe reality with a camera
without intruding on its subject and therefore arguably fueled the basis of the
observational mode.
2. Film
Clips: “Don’t Look Back”, “High School”
“Boxing Gym”
3. View
Blog for readings
4. HOME WORK----WORK ON YOUR FILM PAPER #3
4. HOME WORK----WORK ON YOUR FILM PAPER #3
Example:
May 9
Interactive/Participatory Documentary
1. Jean
Xavier de Lestrade claims that the documentary “We never film reality as it
is. We film reality with us in it. And we become actors in the film. We alter the story we film, inevitably.” It is perhaps through realizations such as
this that allowed the generation of the interactive mode. Here the cameraman displays their own input,
not through the use of a voice over in the editing process, but as the events
occur.
2. Film
Clips: “Crumb”, as well as Nick Broomfield clips
3. View
Blog for readings
***THIRD FILM PAPER DUE
***THIRD FILM PAPER DUE
Example:
May 16
Reflexive Documentary
1. The
Reflexive Mode is the process of negotiation between filmmaker and viewer
becomes the focus of attention. Rather
than following the filmmaker in their engagement with other social actors, we
now attend to the filmmaker’s engagement with us, speaking not only about the
historical world but about the problems and issues of representing it as well.
2. Film
Clips: “Stories We Tell” “David Holzman’s Diary” “ No Lies”
3. View
Blog for readings.
4. HOME WORK----WORK ON FILM PAPER #4
4. HOME WORK----WORK ON FILM PAPER #4
Example:
May 23----Last day of Class----Hybrid Documentary---
1 The most basic definition
I’d use for a hybrid documentary is a film that weaves together traditional
nonfiction filmmaking with traditional fiction filmmaking. That’s it. It’s the
offspring of two different elements. So that means a documentary that
incorporates techniques such as animation, recreation, intentionally directed
sequences, characters who speak from scripts, and so on.
2. Film Clips: “The Imposter” “The Cove”
3. Study for your final Exam.
Example:
May 30th ---MEMORIAL DAY----NO CLASS
May 30th ---MEMORIAL DAY----NO CLASS
June 6-----Final Exam 7:30 to 10pm
1. Be
ready for Final Exam.
2. Class
presentations.
IMPORTANT
ALL WRITTEN ASSIGNMENTS MUST BE TYPED, DOUBLE-SPACED WITH STANDARD 1- INCH
MARGINS, MAXIMUM 12 PITCH FONT, SPELL AND GRAMMAR CHECKED.
ALL WRITTEN
ASSIGNMENTS MUST BE TURNED IN ON DEADLINE AND IN CLASS.
I WILL NOT ACCEPT
THE ASSIGNMENT VIA EMAIL OR OTHERWISE----IN
CLASS ONLY.
ANY ASSIGNMENT
SHOWING INDICATIONS OF PLAGIARISM WILL RECEIVE ZERO GRADE POINTS.
5. IN-CLASS FINAL EXAMINATION --Will cover readings, screenings, and class
discussions.
The
exam will be short answers, fill in the blanks and multiple choice.
Under no circumstances will early or
make-up final exams be given.
DROPPING AND ADDING
Students
are responsible for understanding the policies and procedures about add/drops,
academic renewal, etc. Students should be aware of the current deadlines and
penalties for adding and dropping classes: https://get.calstatela.edu/Registrar.htm.
INCOMPLETES
Will not be considered
before the fourth week and without proof of serious and compelling
reasons and unless all course requirements to date have been
satisfactorily fulfilled.
EMERGENCY WITHDRAWALS
Will not be agreed
to without proof of serious and compelling reasons as specified by the
university’s emergency withdrawal policy.
UNIVERSITY POLICIES
Student Handbook
Information on
student rights and responsibilities, academic honesty, standards of conduct,
etc., can be found in the Student Handbook: http://www.calstatela.edu/usu/csi/handbook.htm.
Americans with Disabilities Act (ADA)
Reasonable
accommodation will be provided to any student who is registered with the Office
of Students with Disabilities (OSD) and requests needed accommodation.
ASSOCIATED STUDENTS, INCORPORATED
(A.S.I.)
Officially recognized as
the voice of CSULA students, ASI continually advocating on campus and at the
state level. In addition to ensuring representation through Shared Governance,
your student government, A.S.I. provides free scantrons and blue books, a book voucher program, laptop/printer
rentals, student lockers, discounted movie and amusement park tickets, student
healthcare information, and much more. Contact your College of Arts and
Letters representatives with any ideas, issues, and/or concerns. E-mail
us at <asicalr1@calstatela.edu>. You can also visit ASI online for more
information at http://www.calstatela.edu/asi .
Visit the Arts and Letters webpage <http://www.calstatela.edu/academic/al/>
where your ASI Student Representatives have a link with other important
information.
Note
to All TVF Majors:
Cal. State L.A. will be converting from Quarters to Semesters in Fall 2016. All
students who are going to graduate after semesters begin will be assisted in
creating an Individualized Advisement Plan (IAP) that will make
seamless their academic transition from the quarter to the semester curriculum.
Please contact your IAP advisor for further information and assistance.
If
your last name starts with A-K: Please contact Professor Jane McKeever for
assistance with your IAP. 323.221.1052, jmckeev@exchange.calstatela.edu
If
your last name starts with L-Z: Please contact Professor Enrique Berumen for
assistance with your IAP. 323.343.6035, eberume@exchange.calstatela.edu
EARLY CAMERAS
1895
Martin Scorsese On The History Of Documentary Films
A BRIEF CHRONOLOGY OF DOCUMENTARY HISTORY
1877: Eadweard Muybridge develops sequential photographs of horses in motion.First Documentary film 1895--THE TRAIN PULLING INTO THE STATION
The Lumiere Brothers
The film is associated with an urban legend well known in the world of cinema. The story goes that when the film was first shown, the audience was so overwhelmed by the moving image of a life-sized train coming directly at them that people screamed and ran to the back of the room. Hellmuth Karasek in the German magazine Der Spiegel wrote that the film "had a particularly lasting impact; yes, it caused fear, terror, even panic." However, some have doubted the veracity of this incident such as film scholar and historian Martin Loiperdinger in his essay, "Lumiere's Arrival of the Train: Cinema's Founding Myth". Whether or not it actually happened, the film undoubtedly astonished people in the audience who were unaccustomed to the amazingly realistic illusions created by moving pictures. The Lumière brothers clearly knew that the effect would be dramatic if they placed the camera on the platform very close to the arriving train. Another significant aspect of the film is that it illustrates the use of the long shot to establish the setting of the film, followed by a medium shot, and close-up. (As the camera is static for the entire film, the effect of these various "shots" is affected by the movement of the subject alone.) The train arrives from a distant point and bears down on the viewer, finally crossing the lower edge of the screen
A Concise History of the Origins of Cinema (Revised Narration)
Nanook of the North, Robert FLAHERTY----
Nanook of the North (also known as Nanook of the North: A Story Of Life and Love In the Actual Arctic) is a 1922 American silent documentary film by Robert J. Flaherty, with elements of docudrama, at a time when separating films into documentary and drama did not yet exist.
In the tradition of what would later be called salvage ethnography, Flaherty captured the struggles of the Inuk man named Nanook and his family in the Canadian Arctic. The film is considered the first feature-length documentary. Some have criticized Flaherty for staging several sequences, but the film is generally viewed as standing "alone in its stark regard for the courage and ingenuity of its heroes."
In the tradition of what would later be called salvage ethnography, Flaherty captured the struggles of the Inuk man named Nanook and his family in the Canadian Arctic. The film is considered the first feature-length documentary. Some have criticized Flaherty for staging several sequences, but the film is generally viewed as standing "alone in its stark regard for the courage and ingenuity of its heroes."
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